This post is adapted from a panel talk for AI Week, Empowering OSU: Stories of Harnessing Generative AI for Impact in Staff and Faculty Work

This past spring marked one year in my role as an instructional designer for Ecampus. Like many of our readers, I started conversing with AI in the early months of 2023, following OpenAI’s rollout of ChatGPT. Or as one colleague noted in recapping news of the past year, “generative AI happened.” Later, I wrote a couple of posts for this blog on AI and media literacy. A few things became clear from this work. Perhaps most significantly, in the words of research professor Ethan Mollick: “You will need to check it all.”

As the range of courses I support began to expand, so did my everyday use of LLM-powered tools. Here are some of my prompts to ChatGPT from last year, edited for clarity:

  • What is the total listening time of the Phish album Sigma Oasis?
    • Answer: 66 minutes and 57 seconds
  • How many lines are in the following list of special education acronyms (ranging from Section 504 – the Rehabilitation Act – to TBI – Traumatic Brain Injury)?
    • Answer: 27 lines
  • Where is the ancient city of Carthage today?
    • Answer: Today, Carthage is an archaeological site and historical attraction in the suburbs of the Tunisian capital, Tunis.
  • What is the name of the Roman equivalent of the Greek god Zeus?
    • Answer: Jupiter, king of the gods and the god of the sky and thunder
  • What’s the difference between colors D73F09 and DC4405?
    • Answer: In terms of appearance, … 09 will likely have a slightly darker, more orange-red hue compared to … 05, which might appear brighter. (Readers might also know these hues as variations on Beaver Orange.)

And almost every day:

  • Please create an (APA or MLA) citation of the following …

The answers were often on point but always in need of fact checking or another iteration of the prompt. Early LLMs were infamously prone to hallucinations. Factual errors and tendencies toward bias are still not uncommon.

As you can sense from my early prompts, I was mostly using AI as either a kind of smart calculator or an uber-encyclopedia. But in recent months, my colleagues and I here at Course Development and Training (CDT)—along with other units in the Division of Educational Ventures (DEV)—have been using AI in more creative and collaborative ways. And that’s where I want to focus this post.

The Partnership

First, some context for the work we do at DEV. Online course development is both a journey and a partnership between the instructor or faculty member and any number of support staff, from training to multimedia and beyond. Anchoring this partnership is the instructor’s working relationship with the instructional designer—an expert in online pedagogy and educational technology, but also a creative partner in developing the online or hybrid course.

Infographic showing the online course development process, from set up, to terms 1-2 in collaboration with the instructional designer, to launch and refresh.
Fig. 1. Collaboration anchors the story of online course development at OSU (credit: Ecampus).

Ecampus now offers more than 1,800 courses in more than 100 subjects. Every course results from a custom build that must maintain our strong reputation for quality (see fig. 1). This post is focused on that big circle in the middle—collaboration with the instructional designer. That’s where I see incredible potential for support or “augmentation” from generative AI tools.

As Yong Bakos, a senior instructor with the College of Engineering, recently reminded Faculty Forum, modern forms of this technology have been around since the 1940s, starting with the influence of programmable computers on World War II. But now, he added—in challenging faculty using AI to figure out rapid, personalized feedback for learners—”we speak the same language.”

Through continued partnership, how do we make such processes more nimble, more efficient? What does augmentation and collaboration look like when we add tools like Copilot or a custom GPT? Many instructional designers have been wrestling with these questions as of late.

“Human Guided, but AI Assisted”

Here are a few answers from educators Wesley Kinsey and Page Durham at Germanna Community College in Virginia (see fig. 2). Generative AI—also known as GAI—is a powerful tool, says Kinsey. “But the real magic happens when it is paired with a framework that ensures course quality.”

Slide on
Fig. 2. From a recent QM webinar on “unleashing” generative AI (CC BY-NC-ND).

Take this line of inquiry a little farther, and one starts to wonder: How might educators track or evaluate progress toward such use cases?

Funneling Toward Augmentation

As a thought experiment, I offer the following criteria and inventory—a kind of self-assessment of my own “human guided” journey through course development with generative AI (see fig. 3).

Criteria for Augmenting Development with Generative AI

ESTABLISHED – Regular, refined practice in course development
— EMERGING – Irregular and/or unrefined practice, could be improved
— ENVISION – Under consideration or imagined, not yet practiced

Faculty with experience teaching online may find my suggested criteria familiar; “established, emerging, envision” is adapted from an Ecampus checklist used in course redevelopment.

Funnel-shaped infographic with five augmentations: (1) From set up to intake; (2) Course content; (3) Suggested revisions; (4) Discussion, planning, and review; (5) Building and rebuilding
Fig. 3. Self-assessment of augmenting development with generative AI (CC BY-NC-SA).

Augmentation 1: From Set Up to Intake

Broadly speaking, I’m only starting to use chatbots in kicking off a course development—to capture a bulleted summary of an intake over Zoom, for example. Or with these kinds of level-setting prompts:

  • Remind me, what is linear regression analysis?
  • What fields are important to physical hydrology?
  • Explain to a college professor the migration of a social annotation learning tool from LTI 1.1 to 1.3.

Augmentation 2: Course Content

In my experience, instructors are only now beginning to envision how they might propose a course or develop its learning materials and activities with support from tools like Copilot—which is increasingly adept at helping us with this kind of iterative brainstorming work. The key here will be getting comfortable with practice, engaging in sustained conversations with defined parameters, often in scenarios that build on existing content. In recent practice with building assignments, I’m finding Claude 3 Sonnet helpful—more nuanced in its responses, and because you can upload brief documents at no cost and revisit previous chats.

Screenshot of conversation with Copilot, starting with a request to create an MLA citation of a lecture by Liam Callanan at the Bread Loaf Writers' Conference
Fig. 4. From a “more precise” conversation on citation generation. Can you spot Copilot’s errors in applying MLA style?

Augmentation 3: Suggested Revisions

Once course content begins rolling in, I apply more established practices for augmentation. For building citations of learning materials, I’m using Copilot’s “more precise” mode for its more robust abilities to read the open web and draw on various style guides (see fig. 4). With activities, often the germ of an idea for interaction needs enlargement—a statement of purpose or more detailed instructions. Here are a few more examples from working with the School of Psychological Science, with prompts edited for brevity:

  • What would be the purpose of practicing rebus puzzles in a lower division course on general psychology?
  • Please analyze the content of the following exam study guide, excerpted in HTML. Then, suggest a two-sentence statement of purpose that should replace the phrase lorem ipsum.
  • How should college students think about exploring Rorschach tests with inkblots? Please suggest two prompts for reflection (see fig. 5.)
Screenshot of Week 6 - Reflection Activity - Rorschach Inkblot Test, including a warning about the limitations of Rorschach tests and prompts for reflection
Fig. 5. From an augmented reflection activity in PSY 202H, General Psychology (credit: Juan Hu).

Augmentation 4: Discussion, Planning & Review

As with course planning, I’m not quite there yet with using generative AI to shape module templates and collect preferred settings for the building I do in Canvas. But by next year—armed perhaps with a desktop license for Copilot—I can imagine using AI to offer instructors custom templates or prompts to accelerate the design process. One more note on annotating augmentation—it’s incredibly important to let my faculty partners know—with consistent labeling—when I’m suggesting course content adapted from a conversation with AI. Most often, I’m not the subject matter expert—they are. That rule of thumb from Ethan Mollick still holds true: “You will need to check it all.”

Augmentation 5: Building & Rebuilding—More Efficiently

Finally, I look forward to exploring opportunities for more efficiently writing and revising the code behind everything we do with support from generative AI. Just imagine if the designer or instructor could ask a bot to suggest ways to strengthen module learning outcomes or update a task list, right there in Canvas.

Your Turn

With the above inventory in mind, let’s pause to reflect. To what extent are you comfortable using generative AI as a course developer? In what ways could this technology supplement new partnerships with instructional designers—or other colleagues involved in the discipline you teach? Together, how would you assess “augmentation” at each stage of the course development process?

Looking back on my own year of “human guidance with AI assistance,” I now turn more reflexively to AI for help with frontline design work—even as our team considers, for example, the ethical dimensions of asking chatbots to deliver custom graphics for illustrating weekly modules. In other stages, I’m still finding my footing in leveraging new tools, particularly during set up, refresh, and redesign. As we continue to partner with faculty, I remain open to navigating the evolving intersection of AI and course development.

(And now, for fun: Can you spot the augmentation? How much of that last sentence was crafted with support from a “creative” conversation with Copilot? Find the answer below.)

Resources, etc.

The following resources may be helpful in exploring generative AI tools, becoming more fluent with their applications, and considering their role in your teaching and learning practices.

Part I: Role of Course Developer as Media Curator 

This post is Part I of a two-part series on video selection and use in online courses. Part I provides the reasoning behind understanding course videos selection by course developers as a curatorial process. Part II will explore video curation in practice in course development and provide a course design perspective on video presentation and management issues.

Recent Video Use Trends

In September of 2020 the enterprise video company Kaltura Inc. conducted its seventh annual State of Video in Education 2020 report. The report included responses from across the education system spectrum with higher education institutions making up 53% of all respondents (Figure 1.).

Chart showing percentages of educator sectors in response to Kaltura survey.
Figure 1. Percentage of respondents to video survey by education sector.

This report described how remote teaching-driven course changes impacted video adoption and use in education. Remote teaching and learning was the most common use of video (83% of respondents). Lecture captured as video was used by 69% of the responding institutions.

The executive summary identified a number of key insights and trends related to changes in video use in education. A select few can be seen below:

  • Use of video for remote teaching and learning grew by 28% over 2019.
  • Video use is viewed as positive. Respondents (84%) saw video as having a positive impact on student satisfaction, 73% seeing video increase student achievements and 76% believe it increased instructor satisfaction.
  • Students as creators of video increased by 13% from 2019 to 2020.
  • In higher education there was rising video use for remote teaching, lecture capture, and flipping the classroom.
  • Actual growth in the use of video for remote teaching and learning grew by 28%.
  • A majority of respondents (68%) want to continue to blend traditional teaching with today’s virtual innovations; such as video.

In some ways this is not surprising. This past year forced many instructors in higher education to convert face-to-face courses to remote instruction. Much of that transition was accomplished with synchronous sessions via ZOOM or some other video conferencing program. Live video conference sessions, if recorded, also served as a support resource for students. In response to the challenges of the past year both live and recorded video were adopted to make remote learning doable. Fully online courses do not have this live element as they are asynchronous and did not have to adapt in this way.

In asynchronous courses at Oregon State University our Ecampus course developers utilize video differently. Video is as a key media element in delivering course content to learners, promoting faculty presence, and to build depth into projects and assignments. Video content may be produced internally by course developers (e.g., instructors) and used in courses via an enterprise video system (e.g., Kaltura). Video content may also be sourced from external video-based social media sites (e.g., YouTube and Vimeo) or educational and commercial collections (e.g., Kanopy or Amazon) and via syndicated video sources (e.g., podcasts and Twitter).

Given the plethora of video available and a trend toward increased video integration into instruction the challenge to course developers is the selecting, managing, and presenting video content to support and compliment course learning outcomes. Ultimately this also becomes a course design challenge for instructional designers who must adapt to manage the integration of increasing levels of video in the course in a way that makes sense from a pedagogical perspective as well as visual design aesthetic.

Course Developers as Media Curators

What is a Curator?

The growing value of video in the experience of a course suggests that course developers (e.g., instructors) consider a new way of thinking about how video is selected, managed and presented. In essence, I am suggesting that for a given course the course developer serves as a curator of video content.

But what is curator? Should a course developer really think like a curator? How might curated media shape course development and instructional design?

In order to explore this notion of course developers as media curators a bit more I would like to share the definition of what a curator is from the American Alliance of Museum (AAM) Curators Committee (2009). The preamble to the curator core competencies of a curator defined the term curator as:

Curators are highly knowledgeable, experienced, or educated
in a discipline
relevant to the museum’s purpose or mission. 

Curators are further described as having nine core competencies and related applied skills. The competencies are:

Collection planning       Scholary Research              Exhibition Development
Collecting                        Object Research                  Education
Collection Care               Applied Research               Outreach & Advocacy

In Figure 2. we see these same foundational roles expressed by the AAM coupled with a definition of curator and description of the work of a curator. Also included is the domain of the work. Those domains are preservation, research, and communication. The global context of curation is, in this definition, a museum. The more discrete context is the exhibition, or exhibit application. Yet it is all part of a curator’s work.

Curator defined with context.
Figure 2. Definition of the term curator and select context example.

What we see in this definition in Figure 2. is the premise that curators select, gather, care for, and prepare presentations of single items that in aggregate make up a curated collection. That collection becomes a resource and object of education, outreach, advocacy and presentation.

This makes the act of curatorship a scholarly and creative practice that is deeply intentional and based upon the definitional parameters of the organization doing the work.

Course Developers – Curators of Video Collections

Now let us think about what an online course developer is and what they do. At Ecampus course developers collaborate with instructional designers to plan an online course. Instructional designers advise and take content selected by the course developer and build that content into Canvas, our learning management system.  The created courses are then shared with students. Course developers are considered content experts much like museum curators are. Let’s look at that a bit more closely.

In Figure 3. below we can see a comparison between the definitional role and duties of a museum curator and course developer. There are striking parallels between these roles. So much so that it would seem reasonable to think about what a course developer does as also a curatorial practice. A practice focused on the learning content, including video, for a given course.

Perhaps the greatest difference between these to two curatorial practices is the context of each. In asynchronous course development it is not uncommon for instructors to perform many of these same functions as museum curators but on a more discrete scale. The scope and context of their focus is obviously different.

In essence a course developer actively gathers and in may cases, creates unique course elements that form the curated media collection for a course. That collection of texts (readings), images, web resources and video is then used for education, research, and perhaps outreach with a constant eye on student access to media. Ultimately a course media collection is intended to permit the course developer to fulfill the purpose of the course and guide students in achieving the course learning outcomes.

The physical design of the course, with its media collection, is the domain of the instructional designer. The collaboration between the course developer and instructional designer are key in preparing the course as an “education exhibition” of sorts that has clear learning outcomes.

Course Video Selection: The Art of Curatorship

We began this discussion with the importance of video in online course development and design. With that in mind it is logical that video curation is an important element of course-wide media collection identification.

Video collection, cataloging, arranging and assembling for display in a course fits quite well within the parameters of curating. Any curation is also about a level of storying, opportunities for engagement, information sharing and perspective sharing (Potter, 2017). In course development these processes as applied to course media, and in particular video, have the potential to create and shape the nature, experience, and associated learning in an online course.

In making decisions about video use in online courses, a course developer would apply their knowledge and expertise to curate the selections. Clear learning outcomes provide a pedagogical and content structure to the video curation process. Once a video collection is established other decisions may come into play that reference an aesthetic for the collection. This is the art of curatorship.

The art of curatorship has been viewed as closely aligned  to a design process (Shuey, 2014) and may be guided by an interpretation of the universal visual design principles as conceptual guides to the education exhibition that is the online course. In this sense the curator is not thinking as much about the collection items per se but more about how the collection fits together to provide and support a narrative, flow, or education scaffolding for the course.

Thinking Like A Curator 

As an exercise in curatorial thinking let’s take some re-interpreted concepts of visual design and see if they help us think through how we curate not only individual videos but also a video collection. This brief list includes accompanying questions that are informed by the identified principle and may shape the curation of video. In these examples found videos are outside video sources where created videos are those made by the course developer.

  • Balance: What is the intended balance between: Created and found curated videos? Permanent video and temporary (single-use) video content?
  • Emphasis: How does found video reinforce or extend created video? Is there a particular focus or intention of video use?
  • Movement: Is there a scaffolding of curated video that matches the scaffolding of the course progression? How does the video curation contribute to that progression?
  • Pattern: Is curated content focused, more general in nature, or quite diverse in source, topic or message? 
  • Rhythm: Does video use and viewing support or promote a rhythm of engagement for the course that compliments course objectives?
  • Repetition: Are curated videos reinforcing similar ideas or concepts? Are videos used consistently for certain aspects of the course (i.e., narrated lectures)?
  • Proportion: Does the video collection time commitment fit within the time expectations for the course? What is the ideal proportion of video to text, image, and other course media?
  • Variety: Are curated videos from different content sources and types? What is the ideal balance for the course?
  • Unity: Does the video collection promote a sense of wholeness to the course? Could the video collection, on its own, communicate identifiable ideas, patterns of ideas, or a range of perspectives on a topic?
    Does video accessibility contribute to the overall course accessibility?

In working through this exercise, we begin to move beyond video collecting by subject toward a more complete analysis of video collection selection and use that includes intertwined pedagogic and aesthetic considerations. This helps create a video collection that is intentional in its item selection, organization and use.

Final Thoughts

Recent research by Kaltura Inc. indicates that video use in education is on the rise in the past year. A continued growth of access to video and ability to create video coupled with an interest in integrating video in education efforts suggests course developers have a challenging task regarding media selection and use.

This article presents the idea that course developers, whether obvious or not, are actively engaged in a curatorial process regarding media selection and use. In addition, because of the importance and prevalence of video, its curation is presented as a key element of the larger course media curation effort. Lastly, we have explored how video collections contribute to academic and aesthetic value of a course and provided some key considerations based upon extending classic visual design principles to a curatorial practice.

It is interesting that the term curation has Latin roots in the verb curare; which means to take care of. Course developers conducting intentional video curation contribute to meaningful media curation for a course. This engagement in the practice of a curator is truly a professional act of caring about the quality of course development and the impact on student learning.

In Part II of this series we will address the practice of video curation in the context of an online course and explore instructional design considerations for video use that balance and complement a sample course video collection.

References

American Alliance of Museums. (2009). Curators Committee (CurCom): Curator’s core competencies. https://www.aam-us.org/professional-networks/curators-committee/ 

Kaltura Inc. (2020) The state of video in education 2020: Insights and trends [seventh edition].
https: //corp.kaltura.com/resources/the-state-of-video-in-education-2020/

Potter, J. (2017). Curation. In K. Peppler (Ed.), The SAGE encyclopedia of out of school learning (pp. 4-6). SAGE Publications Inc., Thousand Oaks, CA.

Shuey, G. (2014, October 21). The art of content curation. RELEVANCE.
https: //www.relevance.com/the-art-of-content-curation/

Wikipedia (n.d.). Definition of term collection.
https://en.wikipedia.org/wiki/Collection_(artwork)

Wikipedia (n.d.). Definition of term curator.
https://en.wikipedia.org/wiki/Curator

Video Resources 

Special thanks for the following individuals for their contributions to this article.

  • Chris Lindberg, Instructional Design Specialist, Oregon State University, Ecampus, Corvallis, Oregon.
  • Cody Rademacher, Curator, Holocaust Museum & Cohen Education Center. Naples, Florida.